• Fresh picked Sambucus berries commonly known as elder or elderberry
  • Fresh picked Sambucus berries commonly known as elder or elderberry against a white background
  • Fresh picked Sambucus berries commonly known as elder or elderberry against a white background
  • Fresh picked Sambucus berries commonly known as elder or elderberry
  • Fresh picked Sambucus berries commonly known as elder or elderberry
  • Bunch of Wild Elderberries
  • Bunch of Wild Elderberries
  • Elderly coule walking near Murren, Swiss Alps, Switzerland
  • solitary Elderly women sitting under a yellow umbrella sun bathing
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey.  Against a grey background<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey.<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • Medieval western rose  window of the Gothic Cathedral of Chartres, France. A UNESCO World Heritage Site. The western rose, made c.1215 and 12 m in diameter shows the Last Judgement - a traditional theme for west façades. A central oculus showing Christ as the Judge is surrounded by an inner ring of 12 paired roundels containing angels and the Elders of the Apocalypse and an outer ring of 12 roundels showing the dead emerging from their tombs and the angels blowing trumpets to summon them to judgement.
  • Medieval western rose  window of the Gothic Cathedral of Chartres, France. A UNESCO World Heritage Site. The western rose, made c.1215 and 12 m in diameter shows the Last Judgement - a traditional theme for west façades. A central oculus showing Christ as the Judge is surrounded by an inner ring of 12 paired roundels containing angels and the Elders of the Apocalypse and an outer ring of 12 roundels showing the dead emerging from their tombs and the angels blowing trumpets to summon them to judgement.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets

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